PTZ ComposerProve the move on your own cameras, before the show.
A move is checked against your actual camera before the show, and a refusal names its reason.
A composed move is checked against the camera that has to perform it before anybody depends on it. The check runs on your head, in your room, while you are composing — not on the night, in front of the people who came.
If the camera can perform the move, you know it in rehearsal. If it cannot, the software says so and names the reason in words you can act on, instead of accepting the move and failing quietly when the room is full.
A refusal is a result, not a fault. The named reason usually points at something you can change: a route that asks for more than the head can give, a leg where the zoom cannot keep pace with the pan, a framing beyond where that camera can look. Change it, check it again, carry on.
This is why tech week is where the surprises belong. The moves that survive rehearsal are the moves that run on the night, and your production team can say which camerawork is ready without anybody crossing their fingers.
Rehearsal is also where the pace gets right. Run the move, watch it land, and adjust how it leaves, travels and settles until it reads the way the moment needs. None of that tuning waits for a show night.
Once a move has passed, the check is not a one-time ceremony. Change the route or replace the camera, and the move is checked again before anybody relies on it, so a result from last month never stands in for the camera in front of you today.
Questions
What does a refusal look like?
A plain sentence that names the reason in words you can act on. The route asks for more than the head can give, the zoom cannot keep pace with the pan on one leg, or a framing sits beyond where that camera can look. Change the move and check it again.
Will the move on the night match the move in rehearsal?
The move that runs on the night is the move you checked, on the same camera, in the same room. If somebody changes the route or the camera afterwards, it is checked again. Light and people on the night are still yours to plan for.
Who should run the rehearsal?
Whoever composes the moves, with the person who will run them on the day watching. The composer tunes route, framing and pace. The person on the stick learns what each cue does and how far each rail goes before anybody is watching.
Does rehearsal need the cast or the full crew?
No. The check runs against the camera, not the people, so an empty room is enough to prove a camera can perform a move. Run it again with people on stage when you want to judge the framing with bodies in it.
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